Bio - Atreyu

29. ledna 2007 v 17:44 | verča |  Atreyu
Dan Jacobs - Kytara
Marc McKnight - Basová kytara
Travis Miguel - Kytara
Brandon Saller - Bicí / zpěv
Alex Varkatzas - Zpěv

- pochází z Orange County, Californie

- 2 alba natočili u společnosti Victory Records
- jejich debutové album -
Suicide Notes and Butterfly Kisses (2002)
- Track list :

  1. "A Song for the Optimists"
  2. "Dilated"
  3. "Ain't Love Grand"
  4. "Living Each Day Like You're Already Dead"
  5. "Deanne the Arsonist"
  6. "Someone's Standing on My Chest"
  7. "At Least I Know I'm a Sinner"
  8. "Tulips Are Better"
  9. "A Vampire's Lament"
  10. "Lip Gloss and Black"
- Videa k této desce -
  • "Deanne the Arsonist" (Live Video)
  • "Someone's Standing on My Chest" (Live Video)
  • "Ain't Love Grand" (Live Video)
  • "A Song for the Optimists" (Live Video)
  • "Dilated" (Live Video)
  • "Lip Gloss and Black" (Live Video)
  • "Ain't Love Grand" (Music Video)
  • "Lip Gloss and Black" (Music Video)
- "Ain't Love Grand" and "Lip Gloss and Black". - dva singly z jejich debutového alba

- 29. června 2004 - vydávají druhé CD s názvem - The Curse
- Track list :
  1. "Blood Children (An Introduction)"
  2. "Bleeding Mascara"
  3. "Right Side of the Bed"
  4. "This Flesh a Tomb"
  5. "You Eclipsed by Me"
  6. "The Crimson"
  7. "The Remembrance Ballad"
  8. "An Interlude"
  9. "Corseting"
  10. "Demonology and Heartache"
  11. "My Sanity on the Funeral Pyre"
  12. "Nevada's Grace"
  13. "Five Vicodin Chased With a Shot of Clarity"
  14. "You Give Love a Bad Name (Bon Jovi Cover) [Import Bonus Track]"
- videa z této desky :
  • "Ain't Love Grand" (Music Video)
  • "Lip Gloss and Black" (Music Video)
  • "Right Side of the Bed" (Music Video)
  • "The Crimson" (Music Video)
- singly z desky The Curse - "Right Side of the Bed", "The Crimson"

- 28. května 2006 - vydávají v pořadí již třetí desku s názvem -
A Death-Grip on Yesterday
- Track list:
  1. "Creature" - 2:59
  2. "Shameful" - 3:29
  3. "Our Sick Story (Thus Far)" - 3:31
  4. "The Theft" - 3:58
  5. "We Stand Up" - 3:06
  6. "Ex's and Oh's" - 3:31
  7. "Your Private War" - 3:33
  8. "My Fork in the Road (Your Knife in My Back)" - 3:25
  9. "Untitled Finale" - 5:17
- 23. ledna 2007 - (pokud jsem se dobře dočetla) tak jim vyšlo CD - Best of
 

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?Editing the Essay, Part 1
Anyone who has gone through the ecstasies and agonies of composing an essay knows the satisfaction (and often times the sadness) of finishing. Once you've done all the succeed of figuring out what you should say, arriving at an arguable and interesting thesis, analyzing your evidence, organizing your ideas, and contending with counter-arguments, you may believe that you've got nothing left to do but run spell-check, print it out and await your professor's response. But what spell- check can't discern is what real readers could think or experience when they look at your essay: where they could very well become confused, or annoyed, or bored, or distracted. Anticipating those responses is the job of an editor-the job you take on as you edit your unique succeed.
As you proceed, remember that oftentimes what may appear to be a tiny problem can mask (be a symptom of) a larger an individual. A poorly-worded phrase-one that appears to be, say, unclear or vague-may just want some tweaking to fix; but it really may indicate that your thinking hasn't developed fully yet, that you're not fairly sure what you would like to say. Your language may be vague or confusing given that the idea itself is. So learning, as Yeats says, to "cast a cold eye" on your prose isn't just a matter of arranging the finishing touches on your essay. It's about making your essay greater from the inside (clarifying and deepening your ideas and insights) and from the outdoors (expressing those ideas in powerful, lucid, graceful prose). These 5 guidelines can help.
1. Learn your essay aloud. When we labor over sentences, we can often lose sight within the larger picture, of how all the sentences sound when they're browse fast an individual after one other, as your readers will look over them. As you go through aloud, your ear will pick up several of the problems your eye may very well miss.
As you learn your essay, remember the "The Princess together with the Pea," the story of the princess so sensitive she was bothered by only one pea buried beneath the pile of mattresses she lay upon. As an editor, you must be like the princess-highly alert to anything that appears to be slightly odd or "off" inside of your prose. So if something strikes you as problematic, don't gloss over it. Investigate to uncover the nature in the problem. Chances are, if something bothers you a modest, it will bother your readers a lot.
two. Make sure all of your words are doing important job in making your argument. Are all of your words and phrases necessary? Or are they just taking up room? Are your sentences tight and sharp, or are they loose and dull? Don't say in three sentences what you could say in a single, and don't use 14 words where 5 will do. You prefer every word with your sentence to insert as a whole lot meaning and inflection as potential. Whenever you see phrases like "My very own personal opinion," ask yourself what "own personal" adds. Isn't that what "my" usually means?
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If you're having trouble putting your finger on just the right word, consult a thesaurus, but only to remind yourself of your possibilities. Never choose words whose connotations or usual contexts you don't really understand. Working with language you're unfamiliar with can lead to considerably more imprecision-and that can lead your reader to question your authority.
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Inappropriately elevated language can result from nouns being implemented as verbs. Most parts of speech purpose better-more elegantly-when they participate in the roles they have been meant to enjoy; nouns deliver the results properly as nouns and verbs as verbs. Read through the following sentences aloud, and listen to how pompous they sound.
He exited the room. It is important that proponents and opponents of this bill dialogue about its contents before voting on it.
Exits and dialogues function more beneficial as nouns and there are plenty of ways of expressing those ideas without turning nouns into verbs.
He left the room. People should discussion the pros and cons of this bill before voting.
Every now and then, though, this is really a rule worth breaking, as in "He muscled his way to the front of your line." "Muscled" gives us a lot of content that may otherwise take several words or even sentences to express. And considering it's not awkward to browse through, but lively and descriptive, readers won't mind the temporary shift in roles as "muscle" becomes a verb.
5. Be tough on your most dazzling sentences. As you revise, you may track down that sentences you needed in earlier drafts no longer belong-and these may be the sentences you're most fond of. We're all guilty of trying to sneak in our favorite sentences where they don't belong, considering the fact that we can't bear to cut them. But beneficial writers are ruthless and will throw out brilliant lines if they're no longer relevant or necessary. They know that readers will be less struck by the brilliance than by the inappropriateness of those sentences and they let them go.
Copyright 1999, Kim Cooper, to the Producing Center at Harvard University
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